Footnotes

(1). Richard M. Barnhart, "Introduction", Master of the Lotus Garden: Life and Art of Bada Shanren (1626-1705), pp. 13-19. 

(2). The term "Post-89" is derived from the large-scale exhibition China’s New Art, Post-1989 organized by Hanart TZ Gallery and Hong Kong Arts Centre in 1993. The term is also used by various writers to describe the changes in the social perception of China experienced by young artists since the historic China/ Avant-garde exhibition in 1989. 

(3). Li Xianting, China Avant-Garde: Counter Currents in Art and Culture, Oxford University Press, Oxford and New York, 1993, pp.44

Cynical Realism - a term introduced by Li Xianting to represent works that have strong social-political comments, while being loaded with sarcastic symbols and protest messages 

(4). Jefferey Hantover, "Zhu Wei: Living in History", The Story of Beijing, Plum Blossoms Gallery, Hong Kong and Singapore, 1994, pp. 16-17 

(5). Jia Fangzhou, Zhu Wei the "Black Sheep and Red Rock’N Roll", The Story of Beijing, Plum Blossoms Gallery, Hong Kong and Singapore, 1994, pp. 10-12 

(6). Wang Fangyu, "The Life and Art of Bada Shanren", Master of the Lotus Garden: Life and Art of Bada Shanren (1626-1705), 1990, pp. 23-82 

(7). Lee Hui-shu, "The Two Fish Leaves of the Aswan Album and Bada Shanren’s Serene Lamentation." To be published in Ars Orientalis. 

(8). Zhang Li, " Chinese Painting Techniques in the 20th Century", Zhu Wei Dairy, Plum Blossoms Hong Kong and Singapore, 2000, pp. 14-16. 

(9). Jia Fangzhou, "Zhu Wei and His Determination", China Diary, Plum Blossoms Gallery, Hong Kong and Singapore, 1996, pp. 5-8. 

(10). Hilary Binks, "An Original: Zhu Wei - PLA grad was discovered in a sea of kiosks", Window Magazine, 1996, pp. 42-43. 

(11). Jia Fangzhou, "Zhu Wei and His Determination", China Diary, Plum Blossoms Gallery, Hong Kong and Singapore, 1996, pp. 5-8. 

(12). "Excerpts from Carma Hinton Video Interview 1997", Zhu Wei Diary, Plum Blossoms Hong Kong and Singapore, 2000. "Zhu Wei on Bada Shanren", pp. 337. 

(13). Richard M. Barnhart, "Reading the Paintings and Calligraphy of Bada Shanren", Master of the Lotus Garden: Life and Art of Bada Shanren (1626-1705), 1990, pp. 102-104. 

Poem, leaf a:

The gold fish who used to carry wine.

Have divided into equal camps, each in its corner.

I paint a few sheets of pitiful water.

At Xunyang twisting past two layers of mountains. 

(Translation by Lee Hui-shu)

Poem, leaf c:

Fine rain drizzling in Yellow Bamboo Village.

Light boat bobbing in mounds of water and clouds.

How can one get a meal of yellow sprouts?

In the fifth month the river pig is swallowed upside down! 

(14). K.K. Goh, "Zhai Shi Ye Shi Tu Jai De Gong Ren" or Translated "Unemployment Workers on Holiday", Lian He Zao Bao, Oct, 1998.

Zhu Wei, "When people are dreaming, the state of their minds are clearer than when they are awake, for example for someone injured in a dispute and too weak to fight back, will find his courage for revenge when he is dreaming."

(Excerpts from K.K. Goh’s interview with Zhu Wei on his film-like thematic series, for example the Sleepwalker Series) 

(15). Liu Tiancheng, "The Pinnacle of Aesthetics and Thinking", The Diary of the Sleepwalker, Plum Blossoms Gallery, Hong Kong and Singapore, 1998, pp.13. 

(16). Fu Xinian, The Complete Works of Chinese Art, Painting Compilation     No. 3, Northern and Southern Song Dynasty Painting Volume 1, Beijing, 1998, pp.29. 

(17). Abraham P.N. Ho, "The Impact of Pa-Ta on the Paintings of the Twentieth Century" (a summary by the Editors of the National Museum of History), The Paintings and Calligraphy of Pa-Ta and Shih-Tao, National Museum of History, Taipei, Taiwan, Republic of China, 1984, pp. 75-77. 

(18). Karen Smith, "World Within, World Without - Zhu Wei’s paintings are an idiosyncratic vision of China’s social and political life", Asian Art News, September/ October 1996 Vol. 6 Number 5, pp. 66-68.